This zone is located to the right, just after the entry, facing the agricultural scenes of the opposite wall, which they complete by providing the conclusion (see ).

This is dedicated to the terminal phase of the harvest: storage of the grain. Guided by a supervisor, the porters of the bags of grain ascend a set of steps to a terrace which is built over eight silos. These silos are known well by the models which have been found here as elsewhere. Every house of any importance had at least one of them. The institutions charged with redistribution had many more, as here. The first man, who has arrived on the platform, empties his bag onto an already large heap of grain. On top of it a scribe notes the arrivals. A man to the left of the pile finally transfers the grain into the domed silos, using an standard measure. The scribe behind him notes the quantities, whilst behind him another supervisor probably double checks his recordings. On the front of each silo can be seen the hatches which will allow the grain to be removed for later distribution.

Once the harvest is over, dances of rejoicing take place, probably in relation to the goddess Hathor, the goddess of fertility. The artist tried to give life to these appearances by showing the subjects in motion, seized at precise instants (see ). A man provides the rhythm by clicking his fingers in front of two dancers, while two women both clap and click before two other girls, who are executing a kind of fast inverted roll.

Two characters kneel, while others stand, picking clusters of grapes under a grapevine whose branches are supported by forked poles (see ). A man reclines, having a rest, in the shade of a tree laden with fruit, while a foreman supervises a vegetable garden where two peasants work. Unfortunately, the left hand side of this register is damaged, so it impossible to know what the man squatting near the top was doing.

Originally the scene showed Antefoqer approaching the throne of his sovereign, Sesostris I. However, both the image of Antefoqer and that of Sesostris have been erased. According to Davies: "The king too is lost, apparently by intent, as the line of fracture closely follows that of the body; but it is not certain that the injury is ancient." (see and ).

Sesostris I was, during the whole course of Egyptian history, a very respected sovereign, and often referred to. The deliberate erasure may not have occurred before the end of the pharaonic period. It was attentively done (as can be seen) because only the right upper part of the scene remains. The sovereign was shown seated under a structure with coving roof supported by lotiform columns. A large was-sceptre acts as a pillar for the sky, the hieroglyphic form of which is spangled with stars. The scene stands under the protection of the Horus of Edfu, Behedet, recognised by the tip of the wing and the name 'bHdt' in hieroglyphs. Two other fragmentary hieroglyphs in a cartouche permit the reconstitution of the sovereign's name: "Kheperkare", the one associated with the title "King of Upper and Lower Egypt", as opposed to his throne name of 'Sesostris'. The multicoloured fan supported by an anthropomorphic 'was' sign, as well as the two hinges of a door, especially seen (but not solely) in a context of Sed-festival. Davies proposes therefore that this scene has been imagined by the vizier as an exaltation of his function, which he wanted to represent at a precise date, the one of his sovereign's Jubilee.

These are clearly dedicated to funerary rituals, including the ritual journey to Abydos, and occupy about half of the whole wall. The basic elements, which will be further developed from the 18th Dynasty, are already present and testify to the stability of these rituals in the Theban region over a long period. This doesn't mean that the group of the represented events actually took place, but what does matter is that their representation in the tomb takes place in it for the eternity.

Abydos, the main centre of the cult of Osiris, was supposed to be the one place in the country closest to the underworld. Here was supposed to be entry of the necropolis 'par excellence', Ro-setau, which already sheltered the first kings of Egypt.
The procession of ships heads toward this sacred place, that is to say towards the sacred west (although in reality, north, along the Nile), to enter the kingdom of Osiris, "the one who is Foremost of the Westerners".
The vizier and Senet are seated on the deck of a small boat, on seats without backrests, in a very conventional and rigid pose (see ). They are protected from the sun by a canopy supported by painted wooden poles. The two rudder oars are also held by posts painted in the same colours, but there is nobody to maneuver them. The bodies of the couple are wrapped with a shroud from which emerge their forearms with the wrists decorated with bracelets, and in each case, the left hand tightly holds a folded piece of cloth. Above them is their identifying text: "Superintendent of the city, the one of the curtain, Antefoqer, favoured by Osiris, and Senet, justified". It should be noted that the tie of relationship between the two characters is not indicated. In front of them is a table of offerings, on top of which is a goose, a bundle of onions, and a leg of meat, and below are two different shaped jars. A butcher cuts the front right leg of an ox, a very rarely represented scene in this context and whose reality is doubtful due to the size of the craft. The representation of ducks flying in the same direction as the craft is considered as a sign of good omen and is also very rare.

This boat is hauled by another much larger one, but the artist didn't judge it useful (or forgot) to represent the rope which joined them. The boat travels down the north-bound Nile, in the direction against the prevailing wind, and its mast, around which are rolled up the sail and the rigging, therefore lays almost horizontally held by two supports. A light roof, suspended at one end by the rudder support, and at the other by a lotiform column, serves to provide a little shade.
Sixteen men (certainly eight on each side) are, with great effort, pulling on their oars. It should be noted that the artist has made yet another error, the rowlocks for the oars are turned the wrong way, not providing a point for the oarsman to lever against as he pulls on his oar, which he would have to do in order to travel in the correct direction (see ). Note also that the foremost oarsman doesn't even have one.
At the stern, the helmsman controls the rudder with a rope. At the prow, another is responsible for ensuring that they keep away from the shallow areas. His orders are transmitted to the helmsman by a series of mediators, usually alternate oarsman on the starboard side.
Starting above this craft, and extending to the right-hand end of the wall, was an inscription, which the photograph clearly shows that it has been scraped away, and which had to have made reference to Antefoqer. However, underneath here, can be found a text written in vertical columns: "Proceeding down stream to Abydos. Giving worship to Osiris, paying homage to (lit. 'smell or kiss the ground of') the great god, Lord of the West, on the occasion of the solemn pilgrimage (by) the revered one and great one of the gods, Senet, justified". Note that Antefoqer isn't even mentioned.

To take advantage of the representation of the Nile, river scenes related to the Osirian rituals at Abydos follow (without demarcation) the previous scene. The theme of identification with Osiris appears from the Middle Kingdom - the period where the cult of the great god becomes of major importance - and will last until the Late Period. The explanatory texts are reduced to a minimum and difficult to understand because certain Abydian ceremonies were public, whilst others remained hidden to the laymen.
The reality of this post-mortem pilgrimage to Abydos is, at this time, more than doubtful. It is possible that some scenes considered as canonical would have been mimed, behind closed doors, in the pools at the centre of the garden of all aristocratic homes; maybe they were even content with a simple recitation of the ritual.

The rituals on water symbolically evoke the crossing of the Nile by the mummy, from east (the land of the living) westward (to the land of the dead), towards the Place of Embalming. Then towards the burial, underlining that of the deceased's goals by accomplishing the journey, to participate in the god's transportation. The crossing is always made onfrail papyrus craft. Here, three are represented and will be described from left to right.

Boat N°1

Above this small craft is the legend: "Sending a ferry-boat". Each of its occupants are indicated, right to left, as: a "lector priest", a "great one of the god " and a "servant of the wish (?) " (the ferryman).
The craft appears to be propelled by magic, as the ferryman does not appear to have a paddle, even though the positions of his arms indicate that he has one. In fact, the draughtsman drew a faint red line to indicate its position, but the artist forgot to paint it in. This mistake (or was it?) is also found in several other tombs, such as at Sennedjem, TT1, for example (see ).

Boat N°2 (see )
Above the position where this and the previous craft touch, is the vertical text: "Departing downstream". On board the second craft a "servant of the people" (hmt rekhyt) is "presenting the offering" of a leg of meat, on a low round alabaster stand, to a divinity with the name of "Sekhmet". The divinity is represented as a mummiform figure wearing the red crown of Lower Egypt. Two similar mummiform deities can be found below (in zones 21 and 22, scene 2) under the name of Menkeret.

Boat N°3 (See far right of )

On the third craft is a coffin supported by animal shaped legs, and thus resembling the frame of a bed. The external case is oblong, as was the custom of the Middle Kingdom, surmounted by a coving at the top. Two udjat eyes, which are usually found during this period, are located in the side, which allow those of the deceased inside to gaze out. The descriptive text above the coffin and the two men, according to Davies, states: "the boat of columns, (with the) man of Wet, coming to the shore." (Note: Wet, written with the Aa2 sign of Gardiner, can designate "the embalmer").
Four characters are present: a lector priest, a sem-priest, and two women identified as the "young falcon", at the front and the "old falcon", at the rear. These are to be understood as Nephthys and Isis, the two mourners, sisters of Osiris, who took care of their husband and lover's remains, and will do the same for the deceased.
On the western bank, a man holding a long staff in his hand greets the arrivals with the words: "the flood brought (it) ", alluding to the flooding created by the tears of Isis when she mourned the death of Osiris, killed by his brother Seth.

The coffin is then transferred onto a sledge pulled by six men by means of two ropes. It continues its journey to Abydos, just as the one which will accomplish the deceased journey towards the Theban mountain.
The coffin is accompanied by the same four figures who were with it on the small craft: the "young falcon" and the "old falcon", plus the "lector priest" (at the front) and the "sem priest".
In front of the hauliers are seen three men and three women. Following the proclamation "The god arrives. Prostrate (yourselves) ", which is now lost, they raise the arms in the sign of rejoicing. These six represent: on the top sub-register, right to left, the: "inhabitants of Saut", "inhabitants of Dep", "inhabitants of Pe"; and on the bottom sub-register, the "inhabitants of Heturetkau" (this identifier is not only written backwards, but is also written above both a woman and a man) and "inhabitants of Wenu", these are the very exceptional people of five holy cities (see ).
In the zones 21 and 22, can be seen the corresponding representation of funerary procession.

This represents the return trip from Abydos, but the scene has almost completely disappeared. The top of the mast, which has survived on a small fragment (see ), shows that the boat had opened out its sail to take advantage of the wind from the north. The couple appear to have returned to wearing their festive attire, judging by those worn by the wife (see ), which, according to Davies, probably has no significance. But, it may be about expressing her wish to lead the existence of those still living on earth, all over again. The roof of the structure which protects the couple is decorated with a multicoloured checkerboard motif. The only remaining part of the inscription gives: "[the vizier?] of the north and the south, arbitrator of Nekhen, priest of Ma'at… [Antefoqer and… Senet], born of Dui". Once again, we have not found anything more about the relationship between these two characters, this time because of the unfortunate gap.

The ideal funeral processions are represented here, on two registers. If the deceased had not been able to benefit from the actual reality, images and texts would take their place and would be a constant reminder in eternity. The bottom register shows the initial transportation of the deceased, drawn on a sledge, whilst the upper one has the carrying of the coffin to the foot of the mountain and "pit of the great palace" (his resting place for eternity).

Bottom register (See lower register of , and )

This is in very bad state, but could be mentally restored by Davies. It combines three scenes of hauling, the one of the mummy, the one of the canopic vases and the one of the Tekenu. An inscription runs across most of the top register, above the artistic detail. It is very interesting to note that all pronouns take the feminine form, and therefore Antefoqer doesn't have any connection with the content of the text: "To the west, to the west, the place where your hope lies. [You are drawn to the place] of your choice by young oxen. The inhabitants of Pe, the inhabitants of Dep, the inhabitants of Busiris, the inhabitants of Wenu, the inhabitants of Heturetkau say: 'Come in peace to the west… For you have not come dead, you have come alive. Therefore, sit on the throne of Osiris, the sekhem sceptre in your hand (so) that you can give orders to the living.' ".

– Scene 1 :
The catafalque, built from light wood, is on a sledge. It is surmounted by a roof which has the shape of the sky hieroglyph, supported by four small decorated columns. In accordance with ancient Egyptian tradition, the inner anthropoid shell is displayed on top of the oblong wooden case, whereas it is probably inside. The two goddesses are located, as usual, at the head (Nephthys) and at the feet (Isis). Once again they are actually identified as the "young falcon" and the "old falcon". Located at the far side of the coffin, and therefore partially obscured by it, are three men: a "lector priest" at the front, who raises his arm and confidently speaks the words: "An auspicious convoy!". He is followed by an "embalmer" and the "Southern chancellor". The last is there, in charge, to represent the king.
– Scene 2 :
Between the sledge carrying the mummy and the four men who assist the pair of oxen which pull the catafalque, are four other men. The first, in front, is a "lector priest" followed by a "sem priest" clothed in his leopard skin. Next is the "chamberlain", who holds a long staff of office. Finally, the "servant of the ka, Sasobek", who is adding resin into a censer, filling the air with a fragrance. What is strange about Sasobek, considering that he is the only one actually named, is that there is nothing to indicate that he has any relationship to the wife of Antefoqer or even Senet.
– Scene 3 :

In front of the two oxen are two sub-registers.
The upper one displays the hauling of the sledge bearing the chest which contains the viscera of, according to what remains of the text on the chest, "… [favoured by] Osiris, Senet, all justified" placed in canopic jars.
The lower sub-register is of the pulling on a sledge of the "Tekenu" (see ). The Tekenu can take various forms. Here, it is represented as a kneeling man, probably wrapped in a black and white cow-hide. According to one hypothesis, when shown in this manner it represented everything that had been used during the mummification and that didn't have its place in the canopic jars, such as pieces of linen. But it could also represent a sem priest who wakens from a cataleptic trance of a shaman type when arriving at the tomb, where he performs the rituals of the opening of the mouth (which is not represented here).

Top register (See upper register of )

This shows the funerary procession consisting of five groupings or scenes (the rightmost two probably being just one), some certainly not occurring at the same time as the others.

– Scene 1 :
Starting on the left, probably the first in sequence, is the arrival of the coffin, carried by four (or eight) men and led by two other characters. The top of the coffin has a cavetto coving. The procession is headed by a man striking two sticks together. He is followed by another placing incense onto the coals of his censer. The title of the scene is written above these last two: "Arrival at the pit of the great palace", this could mean the funerary shaft of the tomb. The text above the coffin proclaims: "Carried by nine courtiers, on a bier". The number, which is uneven and seems wrong, could probably be ritualistic.
– Scene 2:

Four servants advance, carrying statues on their head. The two first carry seated mummiform characters wearing the red crown of Lower Egypt. Those behind carry small statues of a standing man, holding a sistrum (but as a rule, men do use one of these) or possibly a sceptre of a sekhem kind or similar (see ), but the size is not convincing, or perhaps something else. These two are probably Ihy-priests belonging to the cult of Hathor. Their name is derived from the god-child, Ihy, a musician god, whose name can also be translated as "calf", thus bringing the relationship ever closer to Hathor the cow goddess. Actual Ihy-priests appear in zone 23, below.
The text between the mummiform characters has: "Menkeret", the name of an obscure goddess with the head of a lion. But the name also designates (not found in Wb. - the German Hieroglyphic Dictionary) the goddess who carried on her head the statue of the king wearing the red crown of Lower Egypt, an exact copy being found in the tomb of Sethy II, and of which an example was found in the furniture of Tutankhamun (compare and ). Menkeret was one of the eight Sekhmet-goddesses who guarded of the Eye of Horus.
– Scene 3 :
With no indication of division from the scenes on either side of it, and even overlapping both, the coffin is represented again. This time it has been placed on the ground, resting on wooden batons, flanked by its two protectors, the "young falcon" and the "old falcon". The artist, through the lack of space, has even omitted the cavetto coving surmounting the case. The text proclaims, in three columns above the coffin chest: "Set down at the booth of the muu dancers, before the gates of the necropolis.
– Scene 4 : (see )
This scene and the one to the right are definitely related. Four men, on the left, walk to the right towards those who come towards them. They are, from left to right, a "chamberlain", a "sem priest", then a "lector priest" and leading them is a "servant of the people". This one in front raises his hand in greeting towards those who approach him, with the words: "Oh Muu, come!". Strangely, immediately before the identities of both of the first and the second men, the text appears to say: "words spoken". Are they both inviting the muu dancers, or was this a mistake by the artist?
– Scene 5 :

The four muu-dancers approach in a long stride. The first one announces: "She has inclined her head". The one he refers to is the goddess Hathor (also known as mistress of the west), and he thus confirms that she has nodded her head in acceptance to receive the dead within the Theban mountain. The muu-dancers are appointed to perform a funeral dance, and are very recognisable by their tall headgear of plaited reeds, but also by the special position of their fingers. The headgear corresponds to the atef crown worn by gods and the kings of Lower Egypt. The exact role of the muu-dancers remains in debate, but it is admitted that they act like the ferrymen of the solar barque, and as lookouts to the East. Their task is to receive the tekenu and the canopic jars, and to ensure their safe passage into the underworld, by making a fictional journey to the Delta, to Memphis, to Sais, to Buto (another holy city of Osiris) and then to return. Sometimes the ceremony is a lot more elaborate, with muu-hall located within a garden with ponds, as in the tomb of . The dance of the Muu was known since the Old Kingdom and is represented until the end of the New Kingdom.

These scenes are clearly delimited from the previous registers by a vertical line. It is known that the festival of Hathor was celebrated before the deceased. Senet, whose image survives at the right-hand side of this area, was a priestess of that goddess, even though Hathor is not pictured here. The scene was probably that of a feast with music and dance.

At the extreme right, the seated woman is identified, without any need for further discussion, by the text: "… his beloved wife, the revered Senet, born of Dui", but the wife of whom? (see .)
According to Claude Obsomer, the formula Snt irt.n dwi ("Senet, born of Dui"), which is found here to designate a relationship, appears only in the last quarter of the reign of Sesostris I, therefore certainly after the vizier's death. On the north wall, the formula of relationship (i.e. "born of") is different, and much older, which uses ms.n instead of the later irt.n. It is therefore possible, or even probable, that the decor of the two walls was created in two phases.
Senet, adorned in a tripartite wig, is seated on a magnificent seat made of ebony with a high back-rest, of which the feet, in the shape of the paws of a lion, rest on protective wedges. She is beautifully dressed in a slim tight fitting long dress and wears a large necklace and bangles on her wrists and ankles. One-handed, she holds up an open lotus flower toward her nostrils, whilst with the other she tightly holds a piece of folded material, whose significance is still not yet clear. If made of expensive and rare linen, it could relate to wealth or social status.

Directly in front of Senet, was possibly a large representation of Antefoqer (although this is not guaranteed) and of at least one other person (or of an offering table). Most of this has been very carefully scraped away, then smeared with a pink mortar.
Surrounding the upper part of the now lost area (see ) are the remains of some of the other happenings. At upper right, a man presents lotus blossoms, another man is located behind him and from what remains he is clearly playing a harp, the top of which still survives. Whilst at the other side, are three men who belong to the upper sub-register of zone 23.
At bottom left, two ladies squat on the floor (see lower right). It possible that there were originally more. The one on the left, who holds a lotus bloom to her nostrils, has almost survived in entirety. She wears a high-quality dress, with two shoulder straps. Around her neck she wears a necklace with several rows, she also has a large tripartite wig.

This area, subdivided into three sub-registers, includes the entertainment for the celebration. The top sub-register extends to the right, above two seated guests. In the limited space behind them are the two lower sub-registers.

Upper sub-register (See , , and upper part)

This represents a dance which is purely ritual or also festive in nature, but which is not clear. It is linked to the goddess Hathor (of whom Senet was a priestess). The artist tried to display movement, but the result is disappointing. The three women at the centre are obviously older than the others. They each wear a long dress and a large necklace. Extending their arms, they clap their hands to create a rhythm, whilst chanting "The doors of heaven open and the god comes forth". According to Davies, the older females form a double row (three on each side), so as to form an avenue for the young girls. These younger girls wear a simple loincloth around their hips, performing somewhat acrobatic movements. Those on the left wear a long ponytail ending in a bright disc, which their rhythmic movements puts in motion. These two girls chant: "The golden goddess has come" (referring to one of the names of Hathor). The two other young women facing them, point with their index finger. On the right, only the upper parts of the heads and arms of three more dancers has escaped the large area of damage, described above.

Middle sub-register (See left lower part)

In this sub-register are three males, two adults and a child. These three sistrum players (iHwy or iHy) are a category of the priests of Hathor.
They wear the menat necklace around their neck. They are usually shown holding in their hands, and playing, not the usually shaped sistrum, used by females, but long ivory castanets, whose extremity has the shape of a falcon head, or human head, or a simple thickening. Here they are in the shape of two thin clapper boards, two pairs of which are decorated at the end with falcon heads. The text above the leading priest says: "Ra (?) appears", and that of the left-hand priest states: "Mortals, adore you".

Bottom sub-register (See left lower part and )

On lowest sub-register, is found a chantress who, with her hand on her ear, declaims in her song: "Come, Sobek, to Antefoqer. Make everything which he likes". This would definitely indicate that it was the figure of Antefoqer which was removed. She is accompanied by a flutist of which the already clumsy representation of her head is not improved by the shape of her lips (see ). When looking at the photo and comparing it with the drawing by Davies, it can be imagined the extraordinary patience that was necessary by Davies to write his text. It can also be seen that on the raised left forearm of the chantress, the considerable damage made by the alveoli of wasps on the walls of the tombs.

The wall finishes with a vertical double border. Firstly the "Egyptian frieze" (of coloured rectangles) and finally edged with the black and white design of the leopard-tail pattern (see and ).