Yeah, I've got time for a quick look...
First, the good: the voice of the narrator is clear, as is the urgency of the situation. Your prologue is interesting and draws the reader in.
Next, the things that need improvement:
You've got some occasional verb tense changes in mid-paragraph. Unless you're shifting into an action sequence (in which you can get away with a sudden shift from past to present tense), you need to be consistent.
The narrator's voice is clear, but outside of escaping her uncle, you haven't developed her or her family members beyond establishing that they exist. What do these people want? How are they attempting to achieve it?
You're still not giving the narrative room to breathe. We get that the narrator is in a situation that she needs to escape, and that it is abusive - this is established. But, you haven't gone any further than establishing it before the escape actually happens. And, as soon as they do escape, they find what I'm guessing is supposed to be the house of horrors.
Just to expand on point three - what you're doing is cursory, but because the narrator's voice is so clear, it's getting the job done. If this was a short story, that would be fine. But this isn't a short story - it's a longer form narrative. And that means it could be so much better.
Now, I'm not saying that you have to spend 10,000 words traumatizing your narrator and her family in graphic detail to establish that her uncle is abusive. One or two incidents will do that, and you've got one already present. But, you've left a lot of potential story beats behind on the table. There are a number of abuse survivor stories in which escaping from their abuser to a shelter ends up being akin to a prison break - suitcases packed in secret and hidden away, clandestine phone calls to make arrangements, etc. In a story, all of these are moments of suspense and drama.
So, show us the preparations, the moments where the narrator's uncle almost discovers the suitcases, the desperate attempts to redirect his attention, etc. Show us the uncle pursuing them after they've left, the moment where they're hiding and watching him pass, praying that he won't see them, etc. You've easily got 10,000-20,000 words worth of nail-biting suspense and character development waiting to be told here before you get to the real horror, and once you do get to the real horror, those 10-20,000 words will make it clear to the reader that your characters have nowhere to escape to.
