Combine a ten metre transfer with a short set, at a tempo set by having two balls in the circuit. Players must know where their next pass goes before the ball arrives, because the second ball never allows a pause.
Set four mannequins as a central rectangle with a marker at each end, and put eight players on stations around it. Run one ball until the circuit is understood, then introduce the second on the opposite side so the two are always well separated. Each sequence is a long transfer of around ten metres, a short set at the receiving station, then another transfer. Two touch. If the balls converge, stop and reset the spacing.
A single ball on a passing circuit gives every player about seven eighths of the exercise to stand and watch. They stay warm, they get a few touches, and they have as much time as they like to look up, which means the habit of scanning early never has to form.
Two balls removes the spare time without changing anything else. The second one is always on the opposite side of the circuit, which means a player receives roughly twice as often and, more importantly, has no interval in which to watch his own pass travel. The head has to come up between receiving and passing rather than afterwards, and that is the only real difference between a passing drill that transfers to a match and one that does not.
The rhythm within each sequence is worth protecting. A ten metre transfer and a three metre set are different passes: one struck, one cushioned. Groups tend to flatten them into a single middling weight once they are concentrating on the second ball, and the two-range alternation quietly disappears. It is worth calling out when it starts happening.
The practical test of whether it is working is the spacing. If the two balls stay on opposite sides for a full minute, the group is passing at the tempo the circuit sets. If they converge, somebody is rushing to get rid of the ball rather than raising his head, and the fix is a cleaner first touch rather than a quicker pass.
Save it to your private drills, then change the animation, adjust positions, swap equipment, or drop it into a session block. Or start from a blank pitch and build your own.