Hey Dena. Gave this a read up to page 20. A few minors first off ...
p.5 Elena snatches a paper off of the table
-- Elena snatches a paper off the table
p.7 Yours love energy is the heart of a woman.
-- Your love energy
p.8 At sight of the VISITORS
-- (?)
p.9 I don't go with the undelining re. antidote, as it dumbs the reader down. We know they're doing this stuff to avoid eviction, and if that's not clear, maybe just up some earlier sentimental value or something to bring it to the reader's attention.
p.15 Elena dodges the question. Changes the subject.
-- This is made clear in the dialogue that follows.
p.16 Maria crawls off of the bed.
-- Maria crawls off the bed.
(This seems to be a bit of a habit of yours ...)
p.16 In his hands, a tray sporting a sandwich, chips and soda.
... and then
p.17 She ... eagerly grabs the peanut butter and jelly.
-- ?
On to the story. I liked the set-up, and you got in nice and early with the inciting incident.
There's also some nice characterisation with Elena and Gemma - I get the feel that there's two distinct voices here. Plus there's good conflict between the two, along side a shared goal (avoiding eviction).
Generally the writing's very good - creative in the right places (Elena's bath, for instance, I though was very nicely pitched), although I'm not into all the missing "and's", and non-sentences. I know some people go for that style so that's a personal choice.
My only concerns here, was with the nature of the set-up vs the development of events. The set-up is not only used to set out your stall, but also to indicate the story direction. On this one I got confused, and I think it's something you might have done deliberately, but I'm not too sure:
So we begin with Elena as a con-artist, and she is put into a situation whereby she has to find Maria. I was under the impression that this was key to the story - that she had no special powers, and this is part of the problem that will be driving the story forward.
We then change, and Elena appears to be developing these powers. This changes the whole story intent. Lets say from the outset (with the Bondsman) that she has a 'strange' experience ... she is still the con-artist, but we get an indication of what is to come, and of what will be developed.
With the way it is, I feel like I've just bought into one story-line, only to be told - 'actually we're going to go with something completely different after all'.
Just my thoughts, & good luck with it.
Simon