Greetings, and thank you for requesting a review, which I almost forgot about more than once 
This was a super cool read. I like the modern, relatable elements that keep it real: Target, FaceTime, social media, Chelsea and Al being the casual, youthful liberal type... I'm an old soul, and I find it hard to incorporate these little details into my work. Usually Iām too caught up in describing the action and maintaining strict word counts to go off on little tangents; indeed, I often forget to even describe the appearances of the people I'm writing about. Sometimes I prefer stories that way; after all, one might like to envision the characters as people of color, or something similar. But now I'm rambling...
I'm wondering if you haven't given too much away in the description at the top. I guess it makes a good thing to draw us in, and since the story is written in an engaging way, we become interested in finding out what happens at each step.
I would like to make some generalized remarks about character development; you probably don't need this, but it's a good reminder to balance "action" with "depth," so to speak.
Characters are the driving force of a story, and they need specific goals, stakes and obstacles. Chelsea has her goal of doing the job and taking home the money. Are there stakes if she is forced to leave because of the haunting? How scary is the haunting exactly? Is it "something evil," or something that's more lost and seeking clarity? What are the obstacles in the way of her goal? Does she have a new goal of solving the mystery?
It's also important for the protagonist to discover something about herself as well as the world around her, which relates to inherent flaws or setbacks she might have which need working on. This creates a more well-rounded person than a simple "do gooder" type. Is there an argument with Al coming down the pike? Perhaps some conflict somewhere, a temptation to do something shady to find the truth? Grey areas and ethical debates can add interest to a story, unless you're focusing on action and considerations of right and wrong might slow things down.
There's also the elements of "show vs tell" and being firmly planted within Chelsea's head. I learned from Max Griffin š³ļøāš that a story is best told by focusing on the interior perspective of the main character. Sometimes people hop all around, showing us different aspects of the story from many different characters, even the antagonist. This can get a little odd sometimes, especially if you want to focus on a particular character arc.
At any rate, whichever perspective you choose, remember to engage all five senses with vivid details, which is especially important when dealing with scary stories.
I look forward to reading the rest of this adventure!
Take care, thanks for sharing, and keep writing 
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