Here's an ending that I occasionally use.  I think it makes use of of some tasteful voicings.  

    First, I form a chord in the right hand where the key of the song becomes the melody note.  In other words, if the tune is in the key of "C", make your melody a "C."  Then, ask yourself, "C" is the flat fifth of what chord?  "C" is the flat fifth of a Gb7(b5).  At that point, begin to descent in half steps.  So, the next chord will be an F root, then E, then Eb and so on.  In the right hand keep the "C" on top and make a dominant chord using both the seventh and the ninth in the voicing.  

  In the key of "C", your first chord is Gb9(b5), the spelling in ascending order in the RH is: E-Ab-Bb-C.  Then the next chord will  have an F in the bass.  RH in ascending order is: Eb-G-A-C. then with an E in the bass you will have in the RH: D-F#-G#-C.  At this point, I'm not going to continue to spell each chord.  You can figure them out by playing the root in the bass , the pitch of the key remains on top and include the dominant 7 and 9 in each voicing.  Of course, the last chord will be the chord of the key of the song.  

  Note:  Don't worry about naming the chord; that is irrelevant and will unnecessarily confuse you.  Learn the voicings so that you can perform by rote.  There are twelve pitches and therefore, twelve bass roots.  Since 12x12 = 144, there are 144 shapes.  That sounds daunting but with slow repetition, it won't take you as long as you think.  

I apologize for making something sound much more complicated than it really is.  Main points: Keep the top note the same.  You only need to play three voices in RH.  in ascending order, those intervals are b7-9-3.  That's it! Learn to play that in all twelve keys.  Example:  top note is "A." RH ascending will be "Db-F-G.  Note:  This pattern has great utilization well beyond using it for endings.  Inner voice movement has many applications.