This is a nice start, but you might want to keep an eye on some details. For example:
Then she blows the fireball right towards me. I wake up.This means that the person is aware that she's dreaming. Is Rebecca really aware that she's dreaming at the time she dreams (meaning, she has some sort of control over her dream and could, for example, try to change the outcome), or is she the helpless victim of her dreams and totally caught up in them?
Also, if she has nightmares/intense dreams that she wakes up from, she would have normal 'nightmare symptoms' - heart racing, feeling tense, maybe even a fleeting image of the sequence of the dream right before she woke up.
I assume you've maybe had nightmares, so you know what I'm talking about.
Also, you describe the nightmare rather detached. What does your dreamer feel? Wonder, bewilderment, fear, curiousity? All those things can add to the intinsity of the sequence; after all, the dream is part 'reality' for Rebecca, she's an active ingridience rather than an uninvolved watcher.
Rebecca Cunningham had been waking up from the same dream for the past three days, and for some reason, she always felt hot upon waking.Show, don't tell. This would make a really great scene if you'd show the reader how she bolts up in her bed, how she has a moment where she figures out that she didn't get toasted, how she tells herself that it was just a dream.
Always keep in mind that you have to reel in the reader. Catch their interest by making them feel what Rebecca feels, have them trade places, get them involved.
“What does this dream mean, anyway?” she always wondered. But most of the time, she put the dream out of her mind as she took a shower, got dressed, made breakfast for herself and her daughter Molly, and went to work.Again, show, don't tell. Use the time to show your audience how much the dreams unsettle Rebecca, or what Molly's reactions are. Molly certainly will notice that her mom is bothered by something.
Plus, you might want to include something between 'making breakfast' and 'going to work'. Does Molly stay at home unattended? Will Rebecca take her along to work, does she drop her daughter off at school? This is a perfect time to show us a bit about the relationship between mother and daughter, so you can use that for the extra bit of emotional pressure later on.
Rebecca Cunningham watched the handsome tiger walk through the front door of Higher for Hire.
“Can I help you sir?” she said, hoping he’d bring some business her way.'the handsome tiger' - that would require we already know who that tiger is. At this point, we don't, and neither does Rebecca. So it would be 'a handsome tiger'. Also, handsome is a bit of a stretch here. Is he well dressed? Totally in the nude? Young? Old?
The dialogue that follows needs a bit of narration to it. How are things said? Does the Tiger guy speak softly, loud, demanding, threatening? Is his voice grumpy? The same goes for Rebecca's reaction. You do hear this scene in your head, but your audience doesn't.
Additionally, you're completely lack to describe any reaction in gestures etc. that Rebecca or her visitor have. Always remember that your readers don't know what's in your mind unless you tell them.
This is not about describing every tiny little detail, but a little hint here and there would work miracles for the mood of the scene.
Basically the same goes for the last two paragraphs.
I hope this makes sense to you. I also hope I didn't offend you with this post. It's just a suggestion on things.
You have a good idea here and you arranged the scenes well, so you did a good job on the basic structures of the story so far. I'm looking forward to read more.