The entombment in Mark is the most primitive of all and only serves the resurrection - it has no function or purpose in itself
The OP was looking for alternative endings, and that is an attested ending (the
Jefferson Bible, searchable).
As to Mark, it is a false curtain, and like any storytelling device, it has a function and purpose in itself: to enhance the audience's experience of the performance. The contrast between a stranger portrayed as coming forward alone and receiving the corpse of Jesus
versus the disciples of John having collectively received the greater portion of his corpse is very affecting (strong affect being desirable in a curtain scene). Plus, as a false curtain, it sets up the immediate introduction of the women neatly.
That most certainly isn't a "curtain" as the audience consists solely of complete nobodies, given their role in Mark. What the angel says is not a goal, it is a means to an end: and the end is that the damn women botch it
By
audience, I mean those listening to the performance (affectionately known in the trade as the "bums in the seats"), not the onstage characters listening to the performer. And the women only "botch it" if the performance is supposed to end at verse 16:8. For the reasons stated, I very much doubt that Mark was that incompetent. In contrast, I very much believe that the boys club generations later would grasp an excuse to justify marginalizing women and excluding them from any serious role in church affairs outside the kitchen or nursery.
Could you translate that please?
There are ancient manuscripts of gMark that end at 16:8, a verse which depicts women exhibiting symptoms of clinical shock (compare John's masterful depiction of that condition in his Mary Magdalene of chapter 20).
16:14 is apologetic and Judaic and it's impossible to end a story with paraphrasing what the protagonist said while he himself is on the very stage at that same moment.
Is he? The Narrator is an established character in gMark. At 16:14, the last direct discourse attributed to another character was back at 16:7. Ending a performance with a monologue isn't an issue to those who hold to 16:8, it cannot become an issue at 16:14. Sauce for the gander.
There is also precedent for ending a performance with a narrated monologue. Among the more famous ancient examples:
You residents of Thebes, our native land,
look on this man, this Oedipus, the one
who understood that celebrated riddle.
He was the most powerful of men.
All citizens who witnessed this man’s wealth
were envious. Now what a surging tide
of terrible disaster sweeps around him.
So while we wait to see that final day,
we cannot call a mortal being happy
before he’s passed beyond life free from pain.
And modern ones to boot.
A glooming peace this morning with it brings,
The sun, for sorrow, will not show his head.
Go hence to have more talk of these sad things;
Some shall be pardon’d, and some punished:
For never was a story of more woe
Than this of Juliet and her Romeo.