The entry into the further reaches of the complex is framed by uprights, surmounted by a lintel; all of which are decorated. This framing, which is align at right angles to the main axis, stands forward of the walls on either side by a few centimetres, more so at the northern edge than at the south. The decoration of the uprights/jambs is separated from that of the south and north walls by additional undecorated framing, which on the south side stands even further from the main wall, whilst on the north it changes alignment to that of the north wall.
The passageway was designed to take a door which would open inwards towards the pillared hall, a pivot hole for which is still located in the ceiling of the north-east corner of the inner wider section.

Very little of the decoration has survived to describe, because it is almost completely destroyed. It can be assumed that the design was symmetrical, with, at each extremity, the king followed of a goddess. They would certainly face towards the centre, where, in each case, stands the figure of a god. No text has survived to assist in any identities.

This, and its counterpart to the north, are divided into two parts: the upper 3/4 are filled with six columns of text and the bottom 1/4 by a representation of Kheruef.

These each represent a an offering prayer (in the classic style) and are to be read from right to left. They each end with a list of Kheruef's titles and his name (these will not be included), and are read from right to left:

• "An offering which the king gives to Amon, pre-eminent in the Holy District (this relates to the whole area of the temple of Deir el-Bahari) , that he may grant the seeing of his beauty at the time of his appearance, when he comes from Karnak in his festival of the Holy of Holies (the Beautiful Festival of the Valley, during which Amon travels to the west bank and notably to the temple of Hatshepsut) for the ka of…".
• "An offering which the king gives to Re-Harakhti that he may grant entry into his mountain of the righteous and voyaging in front of the stars which always rise in the sky, for the ka of…".
• "An offering which the king gives to Khepri, who is in the evening barque, that he may grant the making of transformations, being well supplied on earth in any form which he desires, and that he may grasp the tow rope of the god's boat in the company of the great god, for the ka of…".
• "An offering which the king gives to Atum, who exults over Ma'at, that he may grant that work be profitable for the one who performs it, the ba belonging to heaven and the corpse to the netherworld, and a going forth from the earth to behold the solar disk according to his custom when he was upon earth, for the ka of…".
• "An offering which the king gives to Osiris, Foremost of Westerners, that he may grant satisfaction from the offering slab of the lord of the Holy Land and the partaking of offerings together with the great ones, as is done for one who is righteous upon earth, for the ka of…".
• "An offering which the king gives to (?] that he may grant the pleasant breeze of the north wind, the drinking of water from what is left over upon the offering stand, and the smelling of incense and myrrh upon the flame, in the presence of Wennefer (the fully regenerated Osiris), for the ka of…".

An idea of the original aspect of the wall can be obtained thanks to the small fragments of colours which were partially preserved. The finely chiselled hieroglyphs, painted by lively colours, had been magnificently cut onto a white base ().

Kheruef is seated on a chair which rests on a mat. Apart from his legs, he has been completely destroyed by hammering. His hand is stretch out in front of him, above of a pile of offerings. These are arranged in dish formed by the raised arms of the ka sign, which in turn stands on the symbol of a standard. The accompanying text consists of a long list of titles of the deceased.

This closely resembles the one on the left side.

• "An offering which the king gives to [Ptah] […], for the ka of…".
• "An offering which the king gives to Anubis, […], that he may grant a ferrying across […], beholding […] in his glorious appearances, for the ka of…".
• "An offering which the king gives to Wepwawet of Upper Egypt, Leader of the Two Lands, that he may grant […] an island in the Field of Rushes and a plot of land in the Field of Offerings, for the ka of…".
• "An offering which the king gives to Min, Lord of Akhmim, that he may grant the consumption of offerings, after the rites have been performed in the ritual of the daily offerings, for the ka of…".
• "An offering which the king gives to Thoth, Lord of Igeret, that he may grant beautification after death, with the ba belonging to the sky and the corpse to the underworld, without perishing, unto eternity, for the ka of…".
• "An offering which the king gives to Hathor, mistress of the desert cemetery, that she may grant entry […] that he may enter his mansion of the necropolis and associate with the lords of Babylon, for the ka of…"

This is a little better preserved, and the deceased possibly holds a sekhem sceptre. Kheruef has still been destroyed from the waist up. The colours are exquisite. The preserved text gives the name of the mother of Kheruef, Ruiu "… Kheruef, justified, born of the royal adornment, singer of Isis the God's Mother, and Lady of the House, Ruiu, justified" ().

As mentioned previously, this was created to take a door opening inwards towards the pillared hall, which meant that passageway is narrower at the entry (east) end. A pivot hole for the door is located in the ceiling, at the north-east corner of the inner section. The side walls of the east entry end (the reveals) were left undecorated, but later used for graffiti figures. Both inner wall areas and the associated ceiling were decorated.

On the undecorated entry walls, the north being more damaged than the south, can be found graffiti images from a later time. Each side contains the outline image of an anonymous character, with his arms raised in worship. The one of the north side has survived on a broken section of the wall ( and ). The one of south side is somewhat larger and only just visible (, enhanced non-photo).

The representations consist of Kheruef with his mother (qualified this time as the chantress of Amon). Both face out towards the entry portico. Although now almost lost, the outline of part of his kilt and his front leg can still be seen (). The text of fourteen columns, which surrounds the two figures, is the 'Hymn to the Rising Sun': "In adoration of Re when he rises like Amon-Harakhti", and is uttered by Kheruef. The begining is greatly damages, but the latter columns (on the right, behind the two standing figures) has survived reasonably well: "that I may enter the great place, that I may receive the offerings that are issued in the divine presence from the hands of the god's fathers, that I may consume ms-bread, a joint of meat and pan-bread at the noble stairway, that I may inhale incense and smell roast meat, that I may be anointed with ointment and first-quality oil, that a vessel of cool water may be poured out and presented to my transfigured spirit, that I may follow Ptah-Onnophris like those who accompany his procession, that I may be there in the presence of Hathor, that I may transform myself into a snake, that I may board the neshmet barque in the wag-festival beside the great god, that I may sit down in the pavilion and play draughts in the presence of 'The one who is in his Mehen serpent', that offering may be made to me in the mansion of the henu barque in the presence of the ennead and they may give to me the pure food and the bread loaf that are issued in the divine presence". It is wonderfully engraved in very finely drawn hieroglyphs ().
A small part of the top of Kheruef's wig seems to have survived, just below the hieroglyphs (). Another detail which can be seen is of a snake coiled on itself, cut by three knives (), located in the column of text next to the one directly in front of Kheruef (top of ). From this, the extent of Egyptian imagination can be visualised: the hieroglyphs become alive, they show imagination and ability of those in authority. In this instance it represents a dangerous snake, but, to insure that it won't rise up against the deceased in the other world, it has been rendered harmless.

Unlike the south wall, this side has no imagery embedded within its ten columns of text. This text does not extend up to the east end, where the door would have pivotted. The columns contain a large funerary offering inscription, written in blue hieroglyphs on white base. The original blue was very dark, close to that of lapis lazuli, best seen on the left, in a preserved fragment. This pigment was very expensive and revealed the wealth of Kheruef ( and ).
The text, which begins in the usual way: "An offering which the king gives…", is directed to Amon-Horakhty, Osiris, Geb, Nut, Isis and Nephthys, Anubis, as well as to Wepwawet of Upper Egypt. Towards the end, Kheruef declares his wishes for the outcome of his appearence before the tribunal of the gods, and for his ability to continue in eternity: "May you impart what I have done upon earth to the gods of the netherworld, the magistrates who are in the Holy Land, in peace when I reach them, so that they may give me justification in the hall of judgment. May the majesty of Anubis admit me, and Thoth judge me that my justification may be found, to tell the truth in the presence of the courtiers. May justice be extensive at my utterance and the magistrates rejoice over me while my righteousness is ennobled upon my hands… etc… May my mansion be made in Igeret, may my abode be spacious in it, and may my name flourish in my tomb throughout the course of eternity".

The condition of the ceiling is not very good, but it has survived well enough to be read. A longitudinal inscription (east to west) separates two sets of eighteen columns of every side. Each begins by "The revered one of Osiris" (or "of Osiris Sokar"), followed of one or two titles and the name Kheruef.
A hole for a door pivot is located at the north-east corner, which was definitely placed there before the text inscribed, because the two column of text are short, yet complete, in this area.

A step of 30cm leads down from the passageway into this fist pillared hall, thus making the height of the bases of the pillars level with the entrance floor. However, access is forbidden here, as well as to the rest of the monument, blocked by a metal grill gate. A few clicks of the camera, taken through the grill, explains why (, and the view opposite). It is in an advanced dilapidated state, although certain columns are nearly complete, most have almost disappeared. Even though the quality of the limestone would appear from the current state to be poor, the fine solid detail of the pillar in shows that this was not the case. The publication of the Oriental Institute indicates the presence of graffiti on the walls. Some fragments of the original decor of Kheruef have been recovered, carrying prayers and recitations of offerings.