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Imma do this with some particularity and style, so take note, kitten-avatared friend:

Each double line break (with a space between paragraphs) henceforth corresponds with a paragraph of yours. The last one will lead into a short overall impression, and I'll end with my kindest remarks and tell you what you did well.

Young lady, Sunday morning; so far, this is somewhat trite. You are blatant. Not to be unkind, of course, but each sentence here is brimming with opportunity for complexity and thrill!
"There is no human being as far as you can see,..."
Perhaps this could be streamlined - say "There is not another soul in sight," "So far as you can see, you find yourself alone," "Not another human being falls under your drooping gaze," et cetera. This opening is your only first impression, and it needs to lead strongly! I like the idea behind your leading paragraph, but try to differentiate your word choices and your structure. The mark of a good writer, in my own opinion, is the inherent beauty of his (or her) sentences. This is especially true in your opening.
"Somewhere near, there's a woodpecker creating a constant noise as his beak hits the bark" Make this active; for instance, "A woodpecker knocks in the distance, creating constant noises of beak against bark." And remove "there's," "that," "this," "the" whenever possible. The particle unneeded is a particle that needs deleted!
I like "begging for admiration." Good personification there.

Remove "still" in "you still refuse," and don't use the conjunction "and" there. "but you refuse to open your eyes. Crossing your arms, you smile, and suddenly..." So on. The little words that clutter sentences are the obstacles I think your writing struggles most against; so, if you see a word you can omit (especially a conjunction or an abstract word like "still," "although," "whereas," so forth) then omit it! Then you'll flow like a silky carriage down a hill of ice. So to speak.

The baby stroller lead is good; strong; maternal - perhaps, however, too maternal? But still, it works.
You don't need "behind you" when talking about the tree trunk. Walking backwards, it must be behind you - I think the reader can deduce that. Sometimes it is best to leave a few details to the reader; I personally find it more engaging that way.
"bleeding, while being drenched in alcohol" makes no sense to me. Alcohol stinks, but blood and alcohol don't seem as though they necessarily mix.

"laughters" must necessarily, definitely, incontrovertibly be changed to "laughter" - there are no "laughters." Also, grammar picking: "laugters" should be "laughter" and "he teeth of a cat" should be "the teeth of a cat." Grammar was strong until the conclusion. Keep strong!
"ribcage" is two words: "rib cage."
The transition between creepy baby breathing heavily and toxic mental breakdown is weak - suddenly, I (the reader) just am hijacked by emotion? Why? By what compulsion? Who or what is doing this to me? I haven't even seen freaky cat-tooth-man-face-baby yet, so is it anticipation? And why do I lose the stroller (or why, more importantly, is the baby upside down)? Creepy feelings? Be slightly more explicit here, maybe, to string the reader along.
"You scream and try to escape." Try to escape, but how? I think I want to see arms flailing or something here - give me an image to follow up the baby. Scary images deserve detailed reactions! "you are chained to him." Elaborate, or discuss this, or make it seem more metaphorical, if there are not meant to be real chains.

"And this is how you will stay... forever." Alright, this story was frightening. And it was good. But the conclusion? A little lackluster. It was platitude worthy. I think you can do better!
I may seem a little nit-picky, but I swear it's for the better. This was something I felt strongly enough to react to, so perhaps that's consolation for the nit-picking. Regardless, here is the final digest of suggestions:

*NO particles, conjunctions, abstractions except where they contribute to the work, the timing, or the flow

*Eliminate ambiguities that seem concrete but may not be - if it is a metaphor, you must either make it feel so real it must be interpretative, or false enough to be metaphorical. That doesn't make much sense, but such is the nature of metaphor.

*Get those boiling and freezing and spectacular sensations across! That means, if necessary, reorganizing the whole story so these things flow together. That's not very specific advice, but it's something I cannot even pretend to do for you. I just mean to say that, if you pull together those beautiful descriptors and experiences, they conglomerate and congeal and stick in the reader like plaque before a heart attack! AND THEN YOU CONCLUDE AND IT IS... well, amazing. So aim for plaque build-up! And don't tell your dentist or your cardiologist I said that!



~Skorlir

You did something very very bad. You switched tenses. Now what does this mean? Observe:

"Grant turned toward the window and looked out."

"But I stop, and our faces are four inches apart."

See? You turn from past to present and then eventually you go back to past again. Don't do this. Some writers may think it's original and drills in the point more; it actually does the opposite. Be careful about your tenses.

I'm not sure of my personal opinons of this story, mostly because I'm from California and snow is the most awesomest thing to me, so I can't understand snow being a bad thing. Even so, besides that tense mistake, this was an okay story. I only say okay because (to me) it didn't seem to have a purpose and it seemed to wander a bit. The wandering seems purposeful so it flows nicely, but it's not my cup of tea.