On the right of the passage to the long hall, there are three badly preserved registers.

We recognize the remains of a shrine and a blunt object that seems to be a hanging semicircle; it would be a boat on its stand upon its altar in the sanctuary (). Another option is to see a window of appearances with the dangling arm of a person lying on a cushion. The accompanying inscription is lost, but you can still see the traces of a building with columns. These various representations may be a link to the next group, in which the action takes place near a temple of Amun and contains scenes that are reminiscent of episodes of the festival of Opet.

A man (Amenemopet?) walks towards the left; he is dressed in his finery and holding in his right hand a long stick and the left a bouquet. Before him, in a sub-register, advance several groups of porters carrying garlands and flowers. The accompanying text, almost erased, mentions the king who is celebrating. The man is followed by two much smaller characters that carry flowers in their arms.

To the right of these, but turned in the other way, a man carries a display with garlands and a basket.
Before him two bald persons carry an undetermined piece comprising of two circular objects, and floral garlands. They follow a group of five men, two of which wear goffered prominent skirts; others carry long papyrus stems. Before them, much larger, we find Amenemopet, his head encircled with a floral crown; leaning slightly forward, He presents two braziers and the offerings piled up before the pylons of a temple.

Between the white pylon piers is a solar disc surrounded by ankh signs and uas while before each pier are four flags on poles with hanging ribbons.

The second register is almost totally destroyed; we still see garlands, men’s’ feet and the head and torso of a person facing right. Carriers of offerings are more visible beneath the pylons of the temple, which are divided into two half-registers.

There are three indistinct persons driving a big ox which is wearing a halter and from which hangs a lotus flower. At the front, other persons advance, bearing or not bearing offerings and flower papyrus stems.

We again find oxen, one of which is being calmed by the herdsman who turns towards him. Other persons carry papyrus reeds (one of them has three on his shoulder) or a yoke, a gazelle or antelope on their shoulders. Farther to the left, the participants raise their arms in a sign of joy in front of a very fragmentary person of much greater size and turned to the right.

On the far left, near the passage to room C, Isis and Osiris are seated in a chapel upon two separate thrones. The goddess wears on her head a pair of Hathor horns which enclose a solar disc (); behind her one recognizes a well-preserved column of the nave, whose capital is a floral composition of lotus, papyrus and lilies. Before Osiris is the lower part of a nebride, traces of offerings and of one foot in a sandal.

On the far right, under a tree with dense foliage, the dead couple appear seated, and wearing scented cones, looking to the left. They watch the manufacture and consecration of their grave goods that take place on the two half-registers before them that are to be read from left to right. Today we lack most of the scenes and details that Cailliaud and Rossellini had seen.
Luckily we have Cailliaud’s drawings that complement the remains of the scene ().

A man bends over a coffin whose head only remains visible. A second man places transverse bands.

Putting in place chest bands (of which gilded traces remain).

Adjusting chest bands while a priest chants, papyrus scroll in hand.

Two men, leaning forward, work on the coffin, while two others are busy around them; they are not trying to make a mummy! A priest paints the face with a reed brush; another carves a text (?) using a chisel. Below the head of the sarcophagus are shallow platters for used tools, color, glue, etc.

These cover the, equally important, manufacture of the funeral mask and the funeral furniture. On the right, two craftsmen are now drilling holes in stones using bow drills; a third seems to inlay one of these stones into a chest. In scene 6, the funeral mask is completed after a final polishing, while a potter prepares a large urn in which will be placed the residues of mummification.

Just before the couple on the right, a priest makes a lustration over three groups of two men seated on their heels. These ‘unknown’ wear mourning headbands in their hair and perfumed cones. Behind them, another priest makes a lustration upon three raised coffins with a Nemset vase from which escape trickles of water. In these scenes we discern the remains of two chapels.

This has three registers, topped by a frieze alternating grapes with lotus flowers.

To the left stands a Djed pillar surmounted by a large black ankh sign provided with arms that lift the sun disk. On either side stand Nephthys and Isis, with arms raised. Before Isis are two (?) kneeling gods, while behind her, in the upper half register, two pairs of baboons are followed by two pairs of Ba-birds while in the lower half register, are four pairs men; all raising their arms in adoration. To the right there is a large, richly furnished, offering table, and the couple in festive clothing. The three large papyrus stems rest probably on the shoulder of Nodjmet ().

At left Anubis brings Amenemopet to the Western Goddess whose lower body blends into the Theban hills. She welcomes the deceased, making the nini gesture a characteristic festive gesture of welcome towards the gods, kings and the dead. The deceased is followed by two goddesses, one bearing her name Waset upon her head: this is the goddess of Thebes. The text above says "May the body of your mummy rejuvenate. Following is a lustration of Amenemopet who holds horizontally a sceptre out to the head of a djed pillar. Water flows from a libation jug in zigzagging lines. This ceremony recalls the consecration of the king as a priest, the "baptism of pharaoh" and is the introduction of the deceased to the realm of the dead. Then follows a god wearing a crown with two feathers and a solar disk who holds out to the deceased a sail inflated by the wind, giving him "the cool breeze” that welcomes him into the afterlife. To the right, a god with the head of a monkey presents the hieroglyph "r" (mouth) to Amenemopet who holds out both hands to receive it, with this text: "Formula ... giving the mouth in the realm of the dead".

We again find the couple wearing scented cones; lotus flowers are stitched in the cone of Nodjmet. A small servant takes care of them. Then comes a great structure decorated with garlands carried by people who have been erased. At the far right hand end we find the couple sitting before a large wreath of onions () (see ).

The descriptions below follow on clockwise, from south to north (left to right following Porter & Moss).

Amenemopet greets Anubis. The text above contains the titles of the god in one part and the other has a short prayer of adoration. Below, separated by a line of text, five men walk towards the left. The first three wear a long kilt with a prominent baggy front-piece and a long wig. In their left hands they hold up a papyrus bouquet resting on their shoulders. The first raises his right hand, the second holds a goose. The last two are shaved and are dressed in short kilts. The fourth carries a wine jug, the last a goose.

Anubis guides Amenemopet by holding his right hand; His left hand grips his right shoulder (). Below the couple present, with arms raised, offerings before the entrance to a tomb overhung by a pyramid, with the text "…Anubis and Hathor, Mistress of the Western Desert. May they give the sweet breath …"

Nodjmet, sistrum in hand, pays tribute to a Hathor symbol.

Severely restored, it shows traces of Osiris and of the feet of the deceased. A line of text separates this scene from the lower one. The latter () shows the lower parts of two men coming from the left. Before them, a butcher cuts up a sacrificed animal. Above, upon a small register and to its far right, is an offering table with a raised bouquet.

Its decor, very fine, was damaged by fire.

Amenemopet wears a finely crafted wig and a necklace; with both arms raised, he pays homage to a standing Osiris who is separated from him by a table and flowers. The text is a hymn to Osiris, Lord of the West ().

The scene at the bottom, separated from the first by a line of text, has five persons turned towards the left. The first four wear of loose clothing with baggy prominent front-pieces and carry papyrus. The fifth, "the servant he loves, the scribe and doctor, Naherhuy” is smaller, and wears a mid-length apron and his skull is shaved. He carries a small bouquet in his right hand.

Nodjmet, is dressed in a long slim dress, wearing a long wig with a ribbon at front, and a fragrant cone; she raises her right hand while her left holds a sistrum and a menat. In front of her is "Hathor, mistress of the desert, the Lady who reigns over the west, ” sitting on a throne that seems to float far above ground level. On her forehead Hathor wears her attributes, the cow horns and the solar disk, as well as the head of a vulture. In the scene below, we recognize a brazier on the left and to the right, heads of the worshipers.

Amenemopet who is difficult to recognize, wears a large pectoral. He worships a large, errect Djed pillar.

Anubis is still visible seated on the right, while the deceased's head remains only partially, surmounted by a prayer of worship to the god.

The throne on which Osiris is seated is not on the same ground level as the feet of Amenemopet, for reasons of space. The god wears the Atef crown and is holding a sceptre ending with his usual attributes, Djed pillar, and the butt of a whip.

Amenemopet venerates the Abydos fetish.

Amenemopet adores Anubis "Lord of Ro-Setau" ().

Under a line of text, the usual cohort of offering bearers move to the left; they carry papyrus stems, mounted bouquets, birds and a vine branch with seven clusters.

Nodjmet worships Hathor.