They occupy the north end of the west wall, which is the final though limited area. However, in this space, the priests concentrated a group of meaningful scenes, of which some are rather rare.
The group represents a funeral procession, real or fictional, with stops for ritual ceremonies, or at chapels for offerings. It concludes, in the lower register, with the image of the worship of Osiris by Paheri.

A couple of oxen are attached to the front of the sledge by a long rope tied at the level of their horns. A drover stimulates them by the help of a whip. The rope is also held by two pairs of porters. Between these, a man holds a perfume burner, while three other men define the Ka-sign with their raised arms.
The text, on two line, says : " Making a beautiful funeral for the nomarch Paheri; bringing the nomarch Paheri, justified, toward his tomb in the necropolis, in peace, in peace, before the great god. Going in peace towards the horizon, towards the Field of the Reeds, towards the Duat ".

The sledge, covered with a canopy, transports the mummy of Paheri. In front and behind him, two mourners, making a sign of mourning, play the role of Isis and Nephthys, who watch over the deceased as they watched over their brother Osiris.
Behind comes the " chief lector " who holds in his hand a papyrus, and who says : " In peace, in peace, before the great god ". Two nobles, dressed with large wigs and holding (in the left hand for reasons of pseudo perspective) great staffs, close the procession. The text says : " Words spoken by the followers (of the procession) : Proceed in peace, in peace toward his tomb of the west, in order to receive gifts among the Ancients, as a follower of the great god ".

(reading from right to left)

A priest holds a great incense container, the text is explicit : " Doing the incensement ".
Behind him, four men carry a casket. Two small mourners are represented underneath.

Behind, two men execute the Muu dance, while welcoming the cortege in front off a representation of the (iteru) chapels (or per-nu) of Lower Egypt. These are buildings of a square section, narrow and elevated, with a rounded roof, whose lateral walls continue above of the roof. The caskets for shawabtis of the New Kingdom, intended to contain the canopic jars, freely adopt this shape. Muu dancers can take several different aspects. It is here, for Paheri, that one finds, for the first time, this representation of two dancers without garlands facing each other, Their clenched fists and raised thumbs nearly touch each other (see ).

The representations of the rectangles below remain mysterious. The one on the right probably represents a pool, if one accepts the two palms on the top (see ).

Next comes a man turned in the opposite direction to the cortege (see ). This is an officiant holding in his hand a great roller and who welcomes the winding cortege with the words : " In peace before the great god ! ". Three priests pull a barque carrying a tall chest, could be the chest containing the canopic jars protecting the deceased's viscera, guarded by two goddesses Isis and Nephthys, each wearing a tripartite wig.
Behind, an upright structure topped with a Kheker-frieze, of obscure significance, and another officiant priest holding a papyrus in his hand.

Two men advance while holding in their hands two long stems of papyrus. They precede three others who pull a sledge, on which is represented the mysterious Tekenu, which could represent a sacrificial ritual. " Towards the west, towards the west ! […] " they proclaim.
Behind the emblem of the perched falcon, symbol of the west, a boat is represented, probably a virtual navigation if one considers the man's position at the stern oar (see ).
Behind, Paheri himself is knelt in front of an altar of the god Anubis, surmounted by a kheker-frieze (see ). He makes a libation of water while proclaiming : " Approaching Anubis, lord of (?) of the god. The landing in Abydos by the nomarch Paheri ".
The barque which finishes the register could be there just to illustrate this scene of navigation (see ). Four men and the two mourners watch over the sarcophagus which rests on a base containing paws, head and lion's tail.

This ends with the representation, in majesty, of Osiris seated on his low cuboid throne, holding in his hands the two instruments of his power : the heqa-scepter and the nekhakha-flail. He is identified as " Osiris-khentyamentiu, the great god, Lord of eternity ". It therefore refers to Osiris, Lord of the West (= the dead).
Before him is Paheri, in the position of worship, dedicating the piles of offerings accumulated before the god (see ), and this text : " The nomarch of Nekheb, Paheri, justified, he says : Greetings to You, noble god, lord of the land, great in the nome of This, mighty in Abydos ! I am come towards you, my lord, in peace ! Give me peace ! Your offerings are yours. Harken to my voice ! I am one of your worshippers ".

In the upper half register, two men preceded by an officiant priest pull a sledge very similar to the one of the upper register, supporting the sarcophagus (see ).
They head toward a garden planted with palms and sycamores which surrounds an oblong pool (see ). Note the very curious presence above the palm trees, of what appears to be the ancient Egyptian checkerboard game of Senet, with its characteristic pieces.
Ten altars are represented having the form of the per-nu already seen. Three are open, each containing a divinity, one with the head of dog, the two others are anthropomorphic divinities (see ).

In the lower half register, one first of all finds a partitioned rectangle, likely a representation of a place used by the two of the mysterious muu-dancers, who here wear their characteristic tall crowns made of plaited reeds (see ).
Behind the two mourners, one finds a representation of Osiris " the great god ", standing under a canopy, facing in the opposite direction to the first (see ).
The final representation shows an oblong space, surrounded by a kheker-frieze (see ). It includes four men without arms facing each other, two by two. The significance of this scene remains problematic. In the , they are designated as " Gods, guardians of the great gates ".

(see and )
Here there are only two scenes, which seem to complete the scenes of the central section of the west wall. They represent some inside activities, whereas those of the other wall take place outside. The first is a great banquet to which many forebears, relatives and friends, participate. The second is a scene of worship accompanied by a long inscription which summarises the funerary program of the whole tomb.

At the extreme left (north) of this wall is a vertical decorative border, composed of coloured rectangles. These are are alternately blue, red, yellow then green, separated black/white/black lines. The whole is outlined with a green line.

In the opening scene, Paheri and his wife are represented in large size, seated on low seats whose feet have the shape of lion paws, these rest on a mat (see ). Paheri is clothed with a loincloth and long transparent skirt, his head surmounted with a carefully detailed wig. In his hand he holds a piece of folded material. On his chest spreads a large wsr-necklace.

His wife Henut-er-neheh clasps him closely. She is clothed in a tight-fitting dress of linen with straps which leave her breast bare. She wears on her head a tripartite wig which is encircled by a chain. At the front, an open lotus flower is at the height of the head of Paheri. She too wishes the rebirth of her spouse and takes an active part in it.
Under his seat, a very alive scene as much loved by the Egyptians : a small tame monkey is attached. It is eating a fruit which it takes from a container before it.

Before the two spouses, is what remains of a table of offerings, probably over laden. This has been destroyed by the addition, at a later date, of side chambers. Above this is a rectangle (laid out in a grid) or placard (see ), which includes a nominative list of the commodities and their quantities (one or two) : different types of breads and cakes, honey, wine, meats…
The inscription above the characters, in large hieroglyphs : " The nomarch, the superintendent of the priests of the goddess Nekhbet, the one who excellently satisfies his master, the scribe Paheri, justified. His wife whom he loves, of his place which he loves, the mistress of the house Henut-er-neheh, justified ".

The officiant who presents the offerings is the eldest son (in theory) of Paheri, Amenmes (see ). He wears the panther skin characteristic of the sem-priest role which he plays. He says : " A funeral offering, of every kind of thing, for your kas. It is pure ! ". The formula is resumed in a short inscription before the couple : " Taking part in the meal of all good pure things ".

In the lower register is a cohort of servants bringing various products. This is largely mutilated, on the right, by the digging of the chamber annexes. The brought products were recorded by the scribe, brother of the deceased, named here as Paheri. Behind him are the ones who help carry the scribe's materials. The " follower, Jr-hat-sen ", carries a roll of papyrus and on his back an unknown object. Next, the " follower, Teti ", who carries the scribe's sandals. Behind him, the " follower whom he loves in the place of his heart, Khaut ", carries his staff and his stool. He is followed by " the one who he loves in the place of his heart, Ipu ", who carries two sacks.

Behind Amenmes (officiating over the initial scene of this wall) are the guests for the banquet, who also face Paheri and his wife.

In best place, two superimposed couples represented in intermediate size, (see ).
In best place, two superimposed couples represented in intermediate size. At the top, the prestigious great maternal father of Paheri, " the chief of the sailors, Ahmes, son of Abana, justified by the great god " and his wife Iput. Under her seat, is tied a dog, entirely hammered out.
Underneath is the couple formed by the father of Paheri, Atefrura, and by his wife Kem.
These two couples are represented in a solemn manner, in the same fashion as that of Paheri and Henut-er-neheh. Great wigs, bracelets and usekh-necklaces for the men; long tight-fitting dresses revealing the breasts for the women. Both couples are seated in front of a table of offerings, well garnished with meats, breads and vegetables.

Behind these two couples, are the others invited to the banquet, of lower status, represented on four levels: the men on the two upper ranks, the women on the two lower ranks. They are clothed in an identical manner to the main guests, but without bracelets. All wear on their heads a "cone of ointment", of which we don't actually know if it was indeed worn or if it symbolised perfumes and fragrances poured on the guests (N. Cherpion).

They hold in their hands, for the most part, an open lotus flower toward the face.
We already mentioned, that it acts as a symbol of rebirth. Some wish to see in it also a representation of an hallucinogenic substance, which coupled with wine, would have allowed the participants to get into a state considered as auspicious to the communication with the world of the gods. However, chemical analysis has never recovered an narcotic agent in lotus flowers.

The family relationship is indicated next to every character, in general they connect to Paheri himself : " his brother "; " the son of the sister of his grandmother ", etc… but in the two lower ranks some of the relatives of Kem are named : " her son ", " her daughter "…

In the upper rank, the first character, Herary, is the brother of Paheri. A servant offers him a metal bowl to drink (see ). Behind him, Teti, second cousin of Paheri, " courtier ". The third character is an uncle " brother of his mother ", Meky (see ). This one refuses the bowl which the servant holds out, who insists and declares : " Command me to get something and I will leave you alone ". Paheri's servants are very persistent in the attention to visitors, as they should be.

The second rank includes the brothers of Paheri: Iahmes and Pamiu, some servants arrange the cone of ointment or perfume on their heads.

Then come the female relatives, with first of all the three daughters of Kem. The third, Amensat, probably already mentioned, refuses the bowl held out by the servant who insists : " For your Ka ! Drink until intoxicated ! Make it a happy day ! Oh listen to what your companion says to you, do not be anguished (?) " (see ). Her companion and distant cousin Nub-mehy tells the servant : " Give me eighteen bowls of wine ! See, I must like (to drink) until intoxicated. My insides are as dry as straw ! ".

In the fourth rank are represented the musicians who come with the banquet (see ) : a harpist, flutist, dancer (holding two pieces of wood which she has to make slap together), and the chantresses who keep the rhythm of the monotonous chant, while clapping their hands.
Behind the musicians are Amensat and Tetuta, great-aunts of Paheri; the latter is accompanied by her daughters Zab, Ty and Nubemnehebt.

This includes a large sized representation of Paheri and Henut-er-neheh making offering to the gods (see ).

Paheri is as usual, standing, left leg forward. He holds in his hands two censers with which he dedicates the numerous offerings represented before him.

Behind Henut-er-neheh, three of their children are represented at a smaller scale. At the top, " his eldest daughter, whom he loves, Tatetes ", in the middle, " his son, whom he loves, Amenmes ". Below, " his son, Rahetep ". The first two are the eldest of the surviving children.

The inscription belonging to Paheri is drawn in large hieroglyphs (see ) : " " Resting in peace in the mountain of the west. Coming forth upon the land to see the solar disk. Opening the ways for the perfect spirit (Akh) which is in the necropolis. That it may be given to him to walk out, to enter and to go forth like a living Ba (returned improperly as soul). To give offerings (to him) who is in the underworld (the Duat). To present all good and pure things to Ra-Horakhty (lit: Ra of the Two Horizons), to Nekhbet, goddess of the sky, to Hathor mistress of her mountain, to Osiris, the great God, to Anubis, master of the necropolis. That they may give the scent of the soft breath of the wind of the North. ". And it says : " For the nomarch of Nekheb, Paheri, justified, (for) his wife, his beloved in the place of his heart, the mistress of the house, Henut-er-neheh, justified. ".

Here is concentrated the main part of the message of the tomb.
By their performed magic, the signs and the scenes are going to make the funerary destiny occur repeatedly for ever, which Paheri wishes for himself and to which he associates his close relations.

The offerings are various. Notice at the top, seven containers for the seven ritual sacred oils. These oils are those used in the ritual of the Opening of the Mouth and Eyes practised on the mummy before it is taken down to the vault.

Behind the offerings, four musicians rattle sistrums with Hathoric heads. The rattling noise which they give out is judicious to reproduce the rustling of the papyri and to attract the goddess Hathor so that she welcomes the deceased within, allowing him thus to regenerate. They also hold in their hands the menat-necklace, another Hathoric symbol. A probable priest of Nekhbet holds out a stem of lotus, but the scene is very damaged.

Underneath, the lower register finishes the banquet scenes (see ).
The butchers cut up two oxen. The piece of choice, the right foreleg (khepesh) is brought to the guests. Besides its nourishing role, the khepesh also had a symbolic role in the ceremony of the Opening of the Mouth and Eyes. Ribs of the animal are also represented.
In addition to the meat are brought drinks, a living goose, breads and flowers, by an uncle of the deceased, by marriage. Next, bearing a jar of wine and a live goose is " the gardener, Sennefer " and after him " the gardener, Uhemu " with white cakes and lotus flowers.

At the south end of the wall is a vertical border of coloured rectangles, similar to that at the northern end.