Thanks Ruby, I've been looking forward to your feedback.

There are also some interesting choices made to break up the dialog with descriptions.
When I hear "interesting" (especially in the context of my meals/dinners) that usually means "don't make it again".

“Friday night,” Her shoulders slumped with her confession, “he was hoping you would come home over the weekend, just to talk.”
I'd put "Her shoulders slumped with her confession," before the speaking.

“Come on.” Maddie slapped the table with her hand and sat down. Her intense look stared Monica’s focus off of her coffee and into her eyes. “You know you don’t want to live without him. You know damn well this can work.”
In my mind, if I'm Maddie, I feel the slap on the table at the same time saying "Come on." and sitting down. If I'm Monica, that is what I see and hear. In that order. Monica looks at her cup avoiding Maddie. Her friend stares at her so intently Monica looks up. When she catches her friend's eyes, she finishes "You know you don't want to live without him...etc."

I remember that part being difficult to write, because I wanted the action and speaking to be easy to picture in the reader's mind. I wrote it from the perspective of watching a play.